How do you get a vocal to sit at the right level in a mix? You listen to the vocal level in the context of any instrumental backing, and make fader moves to keep the vocal balanced against the rest of the mix. Vocal Rider in action, showing the resulting automation exported to a Logic track. INSTANT option is very fast and ZERO has 0ms RMS time.No matter how many compressors we own, when it comes to getting vocal levels right, there's no substitute for faders and hard work. Which determines how quickly the plugin reacts to the incoming signal. RMS control lets you pick between slow, medium or fast rms-detection, MAX UP and MAX DOWN let you set the maximum gain that is applied up andĭown, which gives you more control over how extreme the gain-riding isĪllowed to be. Helpful depending on if the general gain produced is upwards, downwards With the DIRECTIONĬontrol you can set the direction of the ATTACK and RELEASE which is The signals peaks or smooth out the signals tails. ATTACK/RELEASE/DIRECTION: Let you applyĪdditional attack and release to the gain-riding so you can let through.Or vocal recording, or ignore the high attack and finger noises of a Variable slopes so you can for example ignore the low rumble in a speech
Let you filter away the highs and lows in the detection signal with
#Waves vocal rider automation for mac#
This displays Peak and RMS volume for both left and right channel, and the amount of gain-riding in the centre.ĭeveloped in the JUCE framework, this is our most stable plugin to date running happily in all plugin formats for Mac and PC with support for retina and high definition screens. See exactly what Outlaw is doing to the signal at a glance, with the large visual feedback display. A variety of RMS options determine how quickly Outlaw reacts to the incoming signal - another way to help smooth or sharpen the response. Maximum values can be set to adjust the intensity of the gain-riding. The Direction parameter can be set to control the attack and release direction, operating upwards, downwards or in both directions. The Attack and Release options let you mould the transients and sustains of the processed audio to create a smoother signal. For example, this means you can perform effective gain-riding on audio with low rumble, high-hat bleed or other problematic frequency information. Outlaw can perform in band-pass mode with high-pass and low-pass filters and 4 different slope settings. The master output is controlled by the GAIN dial, very useful for setting accurate levels for precise A/B signal comparison.įine tune the gain algorithm with advanced settings, accessible from a secondary panel. Use the GATE control to set a relative level so that the gain-rider ignores softer sounds. Adjust the intensity of the effect with the MIX dial and set the RMS target level with the TARGET dial. These 4 main dials give you flexible control over the fundamental parameters of Outlaw, meaning that it’s easy to make broad-strokes adjustments to the performance of the plugin. Forget about drawing complex volume automation and let Outlaw do the hard work for you, with smooth gain levelling and a wealth of features.MIX, TARGET, GATE & GAIN Outlaw listens to the incoming audio and compensates for volume changes, mimicking the mixing desk fader movement of a real-life audio engineer. Whether you’re mixing live sound, smoothing vocals or balancing solo instruments, Outlaw is the gain-riding plugin you’ve been looking for.